开幕时间：2015年8月21日(周五) 17:00
展览场馆：上海当代艺术博物馆7楼
展览馆址：上海市花园港路200号
Vernissage：17:00, 21th August, 2015
Venue：7F, Power Station of Art
Address：200, Huayuangang Rd. HuangpuDistrict, Shanghai,China
参展艺术家（以姓氏拼音为序）：
边平山、陈光武、陈墙、程大鹏、丁乙、方少华、黄渊青、江大海、李舜、梁铨、刘夷、潘微祁海平、施慧、谭平、王怀庆、王璜生、王丽华王燮达、吴少英、薛松、杨国辛、杨牧石、杨述余友涵、张帆、张浩、周长江
开幕当日活动
Vernissage Program
14:30 - 15:00 媒体签到 Press Registration 丨3F
15:00 - 15:40新闻发布会 Press Conference丨3F
16:00 - 16:40 媒体导览 Guided Tour 丨7F
17:00 - 18:00 开幕仪式 Vernissage 丨3F
上海当代艺术博物馆向大家呈现自主策划的展览“时空书写：抽象艺术在中国”，策展人为李旭。
此次展览邀请了来自北京、上海、杭州、广州、天津、重庆、深圳等地的28位中国大陆艺术家，参展作品66组，共计174件，涵盖了水墨、油画、雕塑、装置、摄影和录像等各类表现方式。
抽象，是中国当代艺术30余年发展进程中的一个比较特殊的类型，因为远离意识形态和商业炒作的热点，一直处在边缘而个人化的存在状态中。抽象语言和观念的品格与成熟度，是对艺术创作水准最直观的检验，其回归视觉本体的表达，是对形而上思考最纯粹的学术体现。
当代中国抽象艺术的形态是相当多元的，除较为传统的油画、水墨等绘画形态之外，雕塑、装置、摄影和录像创作一直在稳步前行。在视觉方面，中国抽象艺术与书法美学有着千丝万缕的联系，在观念方面，又与道家哲学和禅宗思想相互依存。
展览的关注重点不是书法本身，而是中国本土抽象艺术的发展可能。展览的主题旨在用当代艺术的视角重新解读书写与抽象艺术的关系，为民族审美体系的当代化建设搭建全新的交流、研讨和生产平台。
Abstract Art in China,a new exhibition curated by Li Xu from PSA. The exhibition brings together 66 projects, a total of 174 works, by 28 mainland Chinese artists from all over the country: Beijing, Shanghai, Hangzhou, Guangzhou, Tianjin, Chongqing, Shenzhen, etc. The works include watercolours, oil paintings, sculptures, installations, photography and videos.
Abstract art has occupied a special place over the three decades or more in which contemporary art has evolved in this country. It stands at a distance from the flashpoints of both ideology and commerce, and its marginal position means that abstraction has always been an individual project. The quality and maturity of the language and conceptions of abstraction are the most direct measure of creativity in art. Abstract art is a return to pure visual expression, and the purest discourse on metaphysical thought.
Contemporary abstract art in China is diverse, encompassing the traditional oil painting and watercolours, but also steady advances in sculpture, installation, photography and video. Visually, Chinese abstract art retains thick bonds with the aesthetics of calligraphy; conceptually it draws on Daoist and Zen Buddhist thought.
The focus of the exhibition is not on the calligraphy itself, but on possibilities for the progress of Chinese abstraction. The exhibition gives us the chance to revisit the relation between abstract art and calligraphy, from a contemporary perspective. It offers engagement, discussion and a basis for the future development of abstraction in our national artistic imagination.